SKU: HL.372999
ISBN 9781705148877. UPC: 196288015642.
Includes pieces by Anders Koppel, Anders Nordentoft, John Frandsen, Peter Bruun, Eva Noer Kondrup, Anders Brodsgaard, Birgitte Alsted, Andy Pape, Karsten Fundal, Amir Mahyar Tafreshipour, Mogens Christensen, and Erik Orum von Spreckelsen.
SKU: PR.UE030363
UPC: 680160540617.
SKU: OU.9780193511552
ISBN 9780193511552. 10 x 7 inches.
For unaccompanied SATB choir. Andrew Carter's setting matches in its powerful simplicity the text attributed to the French Quaker missionary, Stephen Grellet: 'I expect to pass through this world but once; any good thing therefore that I can do, or any kindness I can show, or any service I can render to any soul of man or animal, let me do it now; let me not defer or neglect it, for I shall not pass this way again.'.
SKU: OU.9780193528284
ISBN 9780193528284. 11 x 9 inches.
Song Junction features 40 appealing songs plus activities for the elementary music classroom (grades K-2) and singers aged 5-7. It includes new songs by music educators, traditional songs from around the globe, and piano accompaniments for added variety. Grouped into themes such as All About Animals and Tell Me a Story, the songs come with teaching notes describing the actions, games, stories, and objectives, all carefully calibrated. A versatile collection, Song Junction is a welcome resource for practitioners the year round.
SKU: HL.44011311
UPC: 884088891466. 9x12 inches. English(US)/Deutsch/Francais/Nederlands.
The dragon is a mystical monster that plays a prominent role in legends from around the world and it still maintains its timeless hold on humanity. From a destructive force in the west to a messenger sent from the gods in the east, dragons have always been a force of nature. We now invite you to step into the dark and mysterious universe of the Red Dragon, guardian of untold treasures! De draak. Als mythisch monster komt hij overal ter wereld voor in talrijke verhalen en legenden. Door de eeuwen heen heeft dit monster de mensen altijd gefascineerd. Als verscheurend ondier in de westerse wereld maar ook als boodschappervan de goden in het Oosten symboliseert hij de macht over de elementen. Treed binnen in het duistere, geheimzinnige universum van de rode draak en maak kennis met de bewaker van de legendarische schat...Der Drache ist das mythische Monster zahlreicher Legenden aus praktisch der ganzen Welt und übt eine zeitlose Faszination aus. Als zerstorerisches Untier im Abendland oder als Botschafter der Gotter im Orient symbolisiert er die Macht über die Elemente der Natur. Treten Sie ein in das düstere, geheimnisvolle Universum des roten Drachen, den Wachter eines sagenhaften Schatzes! Monstre fabuleux, le dragon est present dans les legendes de la quasi-totalite des cultures et demeure l'objet d'une fascination intemporelle. Animal malefique et destructeur pour les Occidentaux ; messager des dieux pour les Orientaux, il est le maitre des elements et symbolise la puissance des forces de la nature. Entrez dans l'univers sombre et mysterieux du Dragon rouge. Mostro fiabesco, il drago e presente nelle leggende di quasi tutte le culture ed e l'oggetto di un fascino senza tempo. Animale malefi co e distruttore per gli occidentali, messaggero degli Dei per gli orientali, il drago e il maestro degli elementi che simbolizzano la forza della natura. Entrate nell'universo cupo e misterioso del Drago rosso, guardiano di un favoloso tesoro.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: PR.114419150
UPC: 680160673674. 9 x 12 inches.
The Chinese Zodiac Suite is the culmination of a three-year project to honor the partnership of Old Dominion University with Minzu University of Beijing, a cooperative effort to bridge the cultures of both sides. In his new composition, Hailstork uses Western musical language to depict the 12 animal signs of the zodiac from Eastern folklore. The suite was performed by the Minzu University student orchestra at a meeting with the Board of Directors of the Confucius Institute at Old Dominion University (CIODU) in Beijing. Executive director of the CIODU, Dr. Qiu Jin Hailstork, prefaced the performance with, You can hear the sounds of rats scratching behind the walls; cows working hard in the fields; rabbits jumping up and down; a snake slithering through the grass; galloping horses and grazing sheep; a monkey swinging through the trees; the rooster, boss of the barnyard, crowing; the sleeping dog who wakes up and starts barking; and the poor pig, so sad because his life's only purpose is to be someone's dinner!.
SKU: PR.11441915S
UPC: 680160673698. 9 x 12 inches.
SKU: HL.14021022
ISBN 9780711982888.
This work was commissioned by the University of British Columbia through the gift of David Lemon. It was first performed on 11th May 1997 at the Chan Center, University of British Columbia, Vancouver, Canada, by Valdine Anderson (soprano), Linda Maguire (mezzo soprano), Paul Moore (tenor) and Kevin McMillan (baritone), with the Vancouver Bach Choir and the CBC Vancouver Orchestra, conducted by the composer. Like Vaughan Williams in his Job: A Masque for Dancing, Davies was inspired in part by William Blake's 21 engravings for the Book of Job. His oratorio, however, is less dependent on finding parallels for Blake's visual details, given the direct poetry in David Lemon's adaptation of the Stephen Mitchell translation from the biblical original, it is hardly surprising that the spotlight should be so much on Job's suffering litany. The baritone has the lion's share of the setting, though the other soloists occasionally reinforce his plea and chorale-like episodes universalize his predicament. Davies frames with work with two seminal plainsong-like passages; there is also plenty of dramatic contrast both within Job's monologues and in the vivid orchestral writing for the smarmy Comforters, the initially shrill God who finally appears out of a dazzling orchestral whirlwind and the animal life he uses to illustrate the wonders of creation to a humbled Job.
